Manga Reviews Reviews

Manga Review: Small Nozomi and Big Yume Vol. 1 (2023) by Sou Hamayumiba

Small girl caught up in a big mess.

“High schooler Nozomi Koiwa wakes up and discovers she's lost her memories…and a whole lot of height. Now the size of a soda can, she flees from a feline assault into the disgusting den of Yume Okubo, a drunken shut-in NEET who's terrified of people and hasn't been outside for months. Between falling beer cans and deadly insect traps, Nozomi survives long enough to convince the airheaded Yume that she's a figment of her imagination who's come to save her from hitting rock bottom…all while investigating how she ended up funsized. But despite their differences—height, brains, and otherwise—each half of this quirky combo might just be what the other needs!” (Kodansha)

There is an undeniable draw to the ‘NEET persona' in manga, establishing an instantly tragic figure with mental health issues that, most often, are structured in a way to be overcome by introducing an outsider into their reclusive ways. Furthermore, it is a fear, depression, or anxiety-driven condition that many can understand through personal experience, albeit not to the same extreme of wanting to fully isolate. Yet, utilizing this type of persona also carries both the stigma of handling mental health in a considerate manner along with the pressure to create endearing personas to keep the reader involved. While “Small Nozomi and Big Yume”, admittedly, does not establish its ability to do either within the first volume, the series offers an intriguing prospect of mixing elements of ecchi comedy with the hikikomori struggle (which Yumi fits the bill in the first volume over the implied label of NEET).

The general vibe of “Small Nozomi and Big Yume” is difficult to pin down, as there are certain elements that point towards fetishization, from the constant fan-service shots to the power balance and playfulness between the two. While there is no nudity or established relationship between the two, the inherent sexuality of the power dynamic doubled by the focus on things like undergarments, feet, and bodily fluids makes it obvious elements of the work will appeal to a fanbase that seeks fetishized content as a precursor to checking out a manga.

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However, the elements of implied eroticism do not entirely undermine the seriousness of Nozomi's situation and paints her as an empathetic character facing real struggles. While Nozomi and Yume are just beginning to bond, Nozomi's push to help Yume, albeit for selfish reasons, has the potential to further explore the anxieties and fears of those who find themselves withdrawn from society (an estimated 1.15 million people across Japan). Unfortunately, the inaugural volume does not do enough to cement that the series will approach the issue with the respect and consideration it deserves, leaving the direction of the series uncertain.

The art of Sou Hamayumiba, regardless of how it is approached, is really sharp and defined. The small details of a dirty room to the expressive personas Hamayumiba crafts all impress with the mangaka's attention to detail and ability to capture the eccentricities of the characters. Sou Hamayumiba has been tapped to work on a few notable anthologies including “Celebration of Haruhi Suzumiya” and “K-On! Story Anthology Comic”, and it is obvious in the art that the mangaka has a knack for capturing the exuberance of youth with an emphasis on over-the-top personalities. On visuals alone, the book is an undeniable success.

It proves difficult to predict what direction “Small Nozomi and Big Yume” will follow, whether it dives deeper into the inner turmoil of Yume and her hikikomori ways, or transitions into a full ecchi comedy. As such, if readers have issues with either approach or lack thereof, it is best to wait out a few volumes and see how the series develops. However, if lewd comedies tickle your fancy or you are not overly weary of how mental health is approached in comedy series, Sou Hamayumiba has crafted a pretty strong opening volume with a sharp artistic direction.

About the author

Adam Symchuk

Adam Symchuk is a Canadian born freelance writer and editor who has been writing for Asian Movie Pulse since 2018. He is currently focused on covering manga, manhwa and light novels having reviewed hundreds of titles in the past two years.

His love of film came from horror and exploitation films from Japan that he devoured in his teens. His love of comics came from falling in love with the works of Shuzo Oshimi, Junji Ito, Hideshi Hino, and Inio Asano but has expanded to a general love of the medium and all its genres.

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